From “Black Collectivities: A Conference,” held May 3–4, 2013, at Northwestern University’s Mary and Leigh Block Museum of Art, the Museum of Contemporary Art Chicago, and the University of Chicago’s Arts Incubator. This article attends to the various loci that promote black collectivity. Often the instances of black collectivity it maps are physically grounded in a prime setting, such as “the corner” and “the block,” pointing to the possibility of new forms and formations that allow for conscious placing, burrowing, and settling. The work of Theaster Gates serves as a point of departure. The act of collecting can be interpreted as a deep structural expression in Gates’s Dorchester Projects and Black Cinema House, which involve various modes of collecting and collectivizing. Such activities may expose “soft collectivities,” which are informally construed, highly representational, and performative.
Research Article|May 01 2014
Yours in Blackness: Blocks, Corners, and Other Desire Settings
Romi Crawford is a cultural theorist whose research revolves primarily around formations of racial and gendered identity and the relation to American film, visual arts, and popular culture. She was previously the curator and director of education and public programs at the Studio Museum in Harlem and is currently associate professor in visual and critical studies and liberal arts at the School of the Art Institute of Chicago.
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Nka (2014) 2014 (34): 80-89.
Romi Crawford; Yours in Blackness: Blocks, Corners, and Other Desire Settings. Nka 1 May 2014; 2014 (34): 80–89. doi: https://doi.org/10.1215/10757163-2415231
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